Although I'm perfectly happy with these all-synth scores as they are, I think it's an interesting idea to have this kind of an album. I do think however that it's not possible to take them as they are, that it would need some translation for them to be proper orchestral music.

"I'm not sure how many scores are planned for the series - but, if I could pick anything, it would be one of three things:

. Complete Lionheart (the soundtrack performance is pretty poor) . A CD of his scores for Thriller & Twilight Zone or. Orchestral realisation of one of his 'synth trilogy' scores (which maybe interesting, as he tended to write quite orchestrally for the keyboards on those projects)

Those would be my choices...but who knows what's next :-) " -- Leigh Phillips (emphasis mine)

It is not a very long score and a nice reconstructed suite included on a future complete score album would fill a void since this is one of the dwindling number of earlier Goldsmith scores that has never been presented in any form on a recording.

The tapes may indeed be long lost but that has never been officially confirmed by anyone from the labels over the years. Still hoping..

I've been very pleased with the recent offerings so far and hope they continue. Great stuff.

The Man is an excellent suggestion if the tapes are lost! I'm still holding out hope the synth tracks for Damnation Alley will be either found or re-recorded and apparently the orchestral recording survives largely... and additional Satan Bug tapes seem a lost cause at this point so you'll notice I added it in at #9 on my list based on Jeff's idea.

Would anyone besides me buy re-recordings of his music for Barnaby Jones or The Waltons?

Yavar

Yavar, the BARNABY JONES main title (original version) and the POLICE STORY main title theme are two of JG's finest melodies, as is THE WALTONS. I think the bad sonics of whatever session tapes remain from these scores means we Goldsmith-ites should demand a new recording consisting of JG's TV themes.

Maybe a QB VII plus MASADA recording, plus the best of the rest of his television work.

Would anyone besides me buy re-recordings of his music for Barnaby Jones or The Waltons?

Yavar

Yavar, the BARNABY JONES main title (original version) and the POLICE STORY main title theme are two of JG's finest melodies, as is THE WALTONS. I think the bad sonics of whatever session tapes remain from these scores means we Goldsmith-ites should demand a new recording consisting of JG's TV themes.

Maybe a QB VII plus MASADA recording, plus the best of the rest of his television work.

There is more than one rerecording of those themes. Seek out Jerry's TV theme medley on the Telarc disc he did with the London Symphony. I heard the same medley conducted by Jerry with the Detroit Symphony what a joy it was.

There is more than one rerecording of those themes. Seek out Jerry's TV theme medley on the Telarc disc he did with the London Symphony. I heard the same medley conducted by Jerry with the Detroit Symphony what a joy it was.

Gary, I find most of the recordings you refer to uniquely unsatisfying. The only one that struck "gold" for me was the set of QB VII highlights that came with the EXODUS recording that Raine/Prague Phil did.

The TV themes I most want (BARNABY JONES, POLICE STORY, THE WALTONS) were small-ensemble main titles that suffer from overkill when performed by a full orchestra. BARNABY JONES and POLICE STORY were performed in their original incarnations by really tight, jazzy session ensembles consisting of some of Hollywood's finest session players; players whose sound can't be done justice by one-hundred players on an Abbey Road-type soundstage.

The JONES and POLICE themes require the precision, drive, and restraint of a small jazz ensemble to let the flute line carrying the melody sing out. Then the ensemble needs to Slam It when the climax comes. The London Symphony and City of Prague Philharmonic do not specialize in this method, to say the least.

I kid you not when I say that Goldsmith's '70s TV themes are among his top-ten works. Only question is: Will someone do recordings that attempt to recreate them properly, or will they continue to be addendums to big orchestra recordings in which they are afterthoughts?

My two cents: "THE OTHER" complete. For me it's an "I'd kill for that" release.

Well...there's some hopeful news on this front and maybe a re-recording isn't necessary any more: Twilight Time is putting out the film on Blu-ray in a couple months with an isolated score as usual. We'll just have to wait and see if the complete scores survives, and maybe Varese will release a corresponding CD of the complete score in their Club series next batch.

Complete....IN Harm's Way.

How are they going to replicate the Hammond Novachord that was used for the scoring for the climatic battle scenes?

Maybe they can get a Hammond Novachord and record with it? I mean, they replicated the synth percussion for The Salamander, and I for one thought that recording turned out fantastic, an undermixed piano line in the main title aside...

Of course, it's also possible now that Paramount's doors have been open for much longer (Intrada released their In Harm's Way very shortly after Paramount opened up) the original tracks *might* be found and render a re-recording of this unnecessary as well. That's what I'm hoping, anyway.

Yes, I would rate "The Chairman" as the prime candidate for a re-recording, bearing in mind the quality of the score and poor quality of previous releases. It's one of Goldsmith's very, very best, worthy of the best possible presentation and if that means a re-recording, so be it!

Lokutus, how have you heard it -- were you at the sessions or something?

I'd be very surprised if it weren't The Chairman or QBVII (Queen's Bench + a roman numeral "7", not QBV "11"). Not necessarily disappointed, mind you, but surprised. In Harm's Way seems relatively unlikely as the third release in the series because there's a far lesser quantity of unreleased music from that...if the series continues to be successful they'll probably get around to it though!